Francesco Borromini

Francesco Borromini
Borromini (anonymous youth portrait)
Born	Francesco Castelli (1599-09-25)25 September 1599 Bissone, Condominiums of the Twelve Cantons (Italian possessions of the Old Swiss Confederacy)
Died	2 August 1667(1667-08-02) (aged 67) Rome, Papal States
Occupation	Architect
Buildings	San Carlo alle Quattro Fontane, Sant'Agnese in Agone, Sant'Ivo alla Sapienza, Oratorio dei Filippini

Francesco Borromini (/ˌbɒrəˈmiːni/,^[1] Italian: [franˈtʃesko borroˈmiːni]), byname of Francesco Castelli (Italian: [kaˈstɛlli]; 25 September 1599 – 2 August 1667),^[2] was an Italian architect born in the modern Swiss canton of Ticino^[3] who, with his contemporaries Gian Lorenzo Bernini and Pietro da Cortona, was a leading figure in the emergence of Roman Baroque architecture.^[4][5]

A keen student of the architecture of Michelangelo and the ruins of Antiquity, Borromini developed an inventive and distinctive, if somewhat idiosyncratic, architecture employing manipulations of Classical architectural forms, geometrical rationales in his plans and symbolic meanings in his buildings. He seems to have had a sound understanding of structures, which perhaps Bernini and Cortona, who were principally trained in other areas of the visual arts, lacked. His soft lead drawings are particularly distinctive. He appears to have been a self-taught scholar, amassing a large library by the end of his life.

His career was constrained by his personality. Unlike Bernini who easily adopted the mantle of the charming courtier in his pursuit of important commissions, Borromini was both melancholic and quick in temper which resulted in his withdrawing from certain jobs.^[6] His conflicted character led him to a death by suicide in 1667.

Probably because his work was idiosyncratic, his subsequent influence was not widespread but is apparent in the Piedmontese works of Guarino Guarini and, as a fusion with the architectural modes of Bernini and Cortona, in the late Baroque architecture of Northern Europe.^[7] Later critics of the Baroque, such as Francesco Milizia and the English architect Sir John Soane, were particularly critical of Borromini's work. From the late nineteenth century onwards, interest has revived in the works of Borromini and his architecture has become appreciated for its inventiveness.